Mark Murphy Sings Nat King Cole... And More

構成数 : 2枚
合計収録時間 : 02:30:14
Personnel includes: Mark Murphy, Sheila Jordan (vocals); Michael Brecker (tenor saxophone); Richie Cole (saxophone); Brian Lynch (trumpet, flugelhorn); Claudio Roditi, Randy Brecker (trumpet); Lou Lausche (violin); Pat Rebillot (piano, organ); Bill Mays (piano, keyboards); Kenny Barron (piano); Gary Schunk, Ken Ascher, Cliff Carter (keyboards); John Cobert (synthesizer); Joe LoDuca, Sam Brown, John Tropea, John Basile, Sam Brown, Bruce Forman (guitar); Bob Magnusson, Michael Formanek, Mike Moore, Harvie Schwartz, Dave Finck, Ron Carter (bass); Jimmy Madison (drums, percussion); Joey Baron, Ben Riley, Peter Grant (drums); Michael Spiro (congas, timbales); Susan Evans, Sammy Figueroa (percussion). Producers include: Mark Murphy, David Braham, Larry Fallon, Mitch Farber, Sheila Jordan. Compilation producer: Michael Bourne. Engineers include: Dean Lathrop, Jim Mooney, Michael McDonald. Includes liner notes by Michael Bourne. Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York). This double-disc collection of Mark Murphy's performances of music associated with Nat King Cole is compiled from nearly two decades of recordings beginning in 1972 and ending in 1991. 32 Jazz was a label established by legendary jazz producer Joel Dorn, originally to reissue some of his own production work for Atlantic. It is long defunct. As for these 34 tunes, Murphy is one of the great jazz singers of the 20th century. He brought a beat generation sense of cool and experimentation to standards without ever losing the nuances and carefully collected vocal skills that come from the jazz tradition. Cole was a consummate vocal stylist, and cannot be truly imitated by anyone. Thankfully, Murphy doesn't try. Instead, he offers new -- and sometimes radical -- interpretations of the music associated with Cole, a fine example is "Nature Boy" in a medley with "Calypso Blues." It begins in a strange way with a distorted cello that is not dissonant so much as a great surprise instead of a piano or a bassline. Most of Murphy's liberties, however, extend the reach of these songs in the jazz canon. They look through tradition and outside it for expression, and in his gorgeous, somewhat grainy baritone, he does the material justice far more often than he simply misses the mark, and pulls to the breaking point of a song's own margins. While this collection is not readily available, the material on it can be found on many Murphy compilations. As for an introduction to the singer, one would be better served by Rah!. ~ Thom Jurek
録音 : ステレオ (Studio)